A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
It is the height of the war in Vietnam, and U.S. Army Captain Willard is sent by Colonel Lucas and a General to carry out a mission that, officially, 'does not exist - nor will it ever exist'. The mission: To seek out a mysterious Green Beret Colonel, Walter Kurtz, whose army has crossed the border into Cambodia and is conducting hit-and-run missions against the Viet Cong and NVA. The army believes Kurtz has gone completely insane and Willard's job is to eliminate him. Willard, sent up the Nung River on a U.S. Navy patrol boat, discovers that his target is one of the most decorated officers in the U.S. Army. His crew meets up with surfer-type Lt-Colonel Kilgore, head of a U.S Army helicopter cavalry group which eliminates a Viet Cong outpost to provide an entry point into the Nung River. After some hair-raising encounters, in which some of his crew are killed, Willard, Lance and Chef reach Colonel Kurtz's outpost, beyond the Do Lung Bridge. Now, after becoming prisoners of Kurtz, will...Written by
In the DVD commentary, Francis Ford Coppola downplays his involvement in the controversial slaughter of the water buffalo, saying he "happened to film a ritual" being performed by Ifugao natives. However, in the article "Ifugao extras and the making of Apocalypse Now", cast and crew detail how Coppola staged the entire scene, directing the natives to chant and sing while they killed the animal which Coppola provided. Afterwards, Coppola "went overboard and ordered a whole truckload" of animals which he gave to the Ifugao to slaughter on-camera. However, only one water buffalo slaughter was used in the final cut. ('Flip Magazine 2003, v.2, n.3, pp. 29-33, 90-91') See more »
After the massacre on the sampan, Mr. Clean is seen opening and closing the breech on the M-60 machine gun twice. See more »
Saigon... shit; I'm still only in Saigon... Every time I think I'm gonna wake up back in the jungle.
When I was home after my first tour, it was worse.
[grabs at flying insect]
I'd wake up and there'd be nothing. I hardly said a word to my wife, until I said "yes" to a divorce. When I was here, I wanted to be there; when I was there, all I could think of was getting back into the jungle. I'm here a week now... waiting for a mission... getting softer. Every minute I stay in this room, ...
See more »
There are no opening credits in the film. The title can be seen as graffiti in the Kurtz compound late in the film. See more »
There are four different treatments of the end credits, all four are available in different VHS, laserdisc, DVD and TV prints of the film......
When the film premiered in a limited 70mm format, it had no beginning or end credits, nothing but a one-line Omni Zoetrope copyright notice at the end. Programs were passed out to theatre goers in lieu of any credits (this ending was used for the theatrical cut featured on the 2011 Blu-Ray release).
When the film went into its wide release its format was 35mm. This version included end credits rolling over surrealistic explosions and burning jungle, showing the Kurtz compound being destroyed (included as a deleted scene on the 2011 Blu-Ray release, with optional commentary from Coppola).
When Coppola heard that people were assuming that the explosions during the end credits of the 35mm version meant that an air strike had been called in on the Kurtz compound (which is not what he wanted audiences to think) he quickly re-edited the 35mm version to have the end credits rolling over a simple black background and a slightly altered musical score.
The "Redux" version also has the end credits over a black background but in different screen fonts and including additional "Redux" inserted cast members.
This movie changed the art of film making, telling a complex story in a powerful new way. The film mixes brutal realism with fantasy, intercutting a modern war with strange scenes full of technicolour smoke. The film uses music not as a score laid in later, but as a practical part of the scene playing from speakers, radios etc. Coppola uses a classic piece of literature as inspiration, taking scenes and characters, and putting them into entirely different surroundings. That is a tricky and brave thing to do. Then he takes a superstar, Brando, pays him a fortune, and films him so that you can barely see his face. The pure guts that such a move requires is astounding, and it works beautifully. This movie belongs in the top ten.
152 of 216 people found this review helpful.
Was this review helpful to you?
| Report this